Blackmagic Forum

They don't have to "fix it in the next release".

They will fix it when they get around it to do it.

Let's be a bit more grateful about what we have, for the price we have it.

lve)

Media page:

Ability to relink a clip with a source clip that doesn’t have the exact same filename

looks like your wish has come true already. Its a bit buried in the manual at page 588. I still don't quite get the file pattern codes.

When I edit several Video/Audio-clips in the timeline and want to extend the audio-track of a clip back to the previous Video/Audio-clip DR should replace the audio of the previous clip.

In the actual version DR 14.3 the extended audio clip is placed under the audio of the previous clip in the same track so that the audio of the previous clip has to be deleted in order to hear the extended audio from the following Video/Audio clip.

DR 14.3 behaves the same way if you extend the audio part of a Video/Audio-Clip to the following Video/Audo-Clip.

(I hope you understand my description.... )

Would be nice to have that changed.

Thanks

Josef

- Chromatic aberration tool
- Fix Title, crossfade etc... rendering in ACES (aka ll online stuff). It seems that it's the same with RCM.
- Fix rendering of all OFXs in ACES.
- Adding of nodes to all elements in timeline (AKA to colormanage the problem in ACES and RCM).
- Add a paint tool.
- Output blanking pre track (when you have a project with 1.33 and 2.39)
- FIX THE GOD-DAMN ANAMORPHIC TRACKING! hehehehe that's an oldie.
- A tool in the resize tool that toggles a bright color (in the Background) that let's you see (on your output) is you are cropped properly.
- A way to lock (all) grades in one single click.
- Possibility to rearrange powergrade and stills.
- A way to export your saved project settings and user settings.
- A way to create DCTLs
- A bigger curve dialog (to be more precise)
- An easy point warper that tracks well. (i know that there's a warper in R14 buts it's a bit inefficient)
- A tool to zoom into the SDI output. That does not affect sizing.
- An option to write the correct metadata of Colorspace tags into the ProRes (or any other codecs).
- Copy grade from active frame (it always copies from the first frame this is problem when copying into a long one shot sequence)
- In color tab. Input timecode when using Printer light hotkeys by double clicking the TC.
- Simple way to reconnect disconnected LUTs (Automatically, point to a new folder)

It would be helpful to split the single Next Marker command into two separate Next Clip Marker and Next Sequence Marker commands.

Or possibly have all three.

Shift+Down = Next Marker (not distinguished)
Ctrl+Shift+Down = Next Clip Marker
Alt+Shift+Down = Next Sequence Marker

Hector Berrebi wrote:

Charles Lyons wrote:3. Blade would always be applied at the playhead location.

Blade isn't meant for that, You can use the Split Clip command instead, which ignores auto selection. if clip is selected.


Also, it's helpful to memorize Alt/Shift clicking the Auto Selection buttons to get quickly from all to one/none or vise versa..

I definitely don't think Auto Select is currently broken or buggy. Though, for one function, maybe it has a bit too much responsibilities on its shoulders...

When I said "blade" I was referring to the process of splitting a clip, not the actual tool, which for the purposes of what I'm talking about does the exact same thing.

And I'm not talking about the Auto-Select buttons in the timeline header; I'm familiar with what they are and what they do and they're not relevant here. When I said "auto-selection" (which is admittedly unclear but I'm not sure what else to call it) I was referring to Resolve's behavior of automatically moving the selection around the timeline when you hit up or down arrow. As I said, the behavior may be desirable for colorists, but it is absolutely broken for editors.

For colorists the most important organizing feature of the timeline is the individual clip. For editing, the most important organizing feature is not the clip but rather the edit point ("cut") between the clips. It is extremely aggravating to hit up or down arrow to move to the next or previous edit point and instead have both the playhead and current selection jump to an unexpected point in the timeline. Navigating through the timeline from edit point to edit point is an essential feature of nonlinear editing and it is currently impossible in Resolve without frequently and pointlessly resorting to the "deselect all" command.

There needs to be a preference (and please tell me there is already and I've simply overlooked it) to turn the current behavior off and move the playhead only to the nearest edit point and leave the current selection exactly where it is.

A switch on the color tab viewer that allows us to view the ENTIRE clip, beyond the in - out points of the edit. This facilitates the use of color charts shot at the beginning of the clip. Also allows white balancing using the clapperboard. And it should de super easy to implement.

Antonis Arapostathis wrote:A switch on the color tab viewer that allows us to view the ENTIRE clip, beyond the in - out points of the edit. This facilitates the use of color charts shot at the beginning of the clip. Also allows white balancing using the clapperboard. And it should de super easy to implement.

Wouldn't this essentially be a remote grade, master timeline workflow?

Sent from my Pixel 2 using Tapatalk

Thank you Blackmagic for Resolve 15. I was a Fusion compositor back ten years ago, before switching to Nuke. You have got my interest in Fusion again.
Please let me know if there is a better thread to track features request. For now I'll post a few I got by using the Fusion module just a couple of times. Please bear with me if these already exist or have been requested already.

- Be able to set a Fusion Comp working color space. This could be useful for those working in Log or ACES. Being able to work in either ACEScg or Rec709Linear will probably make more sense in these situations. The way I see it is similar to the Color Management Settings. MediaIn come from Timeline Space to Comp Space, Media out goes Back to Timeline Space.

- Be able to use the same color management in the Viewr LUT. This could be an "Use Project Setting" entry. This could be the default.

- Make Resolve Native OFX plugins available to Fusion... specially the Colorspace Conversion tool.

- Expose the Media resizing option in the Fusion MediaIn node, or as a separate tool. This will help Compositions where it makes more sense to work at the original clip resolution and not the timeline resolution.

- Be able to maximize the Fusion windows (Viewer, Splines, Dope-sheet, etc). Haven't used dual monitor yet tho.

- Be able to share Fusion 9 and Resolve's Fusion Bins, Tools, Scripts etc... in a more intuitive way.

I have to agree with ASIO and routing for DV. There is a big latency problem in monitoring s live mic input which forces the user to monitor the input channel on their mixing desk instead of the playback channel. I really don't won't to work like that it really isn't the proper way to work. I know Black magic want to get people to buy into to their audio hardware but for small production setups where an investment in equipment has already been made or where flexibility in software and hardware is needed it just isn't going to happen.




[quotel="Paul Draper"]Re: Fairlight: We're patient and this is a great direction. However:

*Please* add Win ASIO driver and Mac OS core audio support - DAWs and Pro Audio interfaces have been established for donkey's years. I understand that Blackmagic may want to support its own audio interfaces /surfaces, however, the pro audio market is already enormous and the infrastructure already out there. IMHO, ASIO would provide BM with such greater reach. Open it up, let people use their existing audio infrastructure & get on with it.

For now, the Resolve 14 audio prefs on the way in AND on the way out are hopeless, non-standard. Appears to have been designed by Committee (at worst) or the idea of pro-audio as imagined by video people (at best). Add a DAW guy in the design team, surely? BM threads are full of this stuff; wasting so much time and energy with something that should be so straight-forward, 'invisible' in fact: audio routing.

See DAW pro audio industry standards, eg Pro Tools, Nuendo, Cubase, Logic, Studio One etc:
See relevant audio hardware I/O standards: Avid, RME, Universal Audio, Apogee, Antelope, Focusrite etc.
The DAW picks up the Audio I/O driver and understands all of the routing immediately.

... all that talk in Resolve 14 threads about routing (say) 5.1 tracks & stems. Insane, out of date, needlessly complex. Should be:

• On the way IN (Resolve audio prefs): select the audio interface driver and have immediate access to all NAMED inputs and outputs on a grid.

• On the way OUT (Resolve is especially dreadful & non-standard here): route according to NAMED inputs and outputs as per the audio interface drivers. On a grid. (see Pro Tools I/O for example).

• On every audio track /buss /aux /group: select an input from the same named set of inputs; select an output from the same named set of outputs - as per the audio I/O hardware.

Can be that hard, surely. ASIO drivers.[/quote]

Select multiple clips on timeline and stabilize them in "batch" mode with the same settings.

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Edit page:

Steal Premiere Pro’s grave accent trick (aka tilde key). I’ve dropped Adobe Creative Cloud without a moment’s regret, but Adobe sure got this one thing right. It turns a useless key that happens to be squatting on prime keyboard real estate into a feature that is hard to live without once you’ve gotten accustomed to it. It can seriously be the difference between needing a dual display or not!

Open multiple timelines in tabs

+several million on the first one [use it endlessly with Premiere]

+100 on the second one

Thomas Dove wrote:

Open multiple timelines in tabs

+100 on the second one

Version 15 provides this functionality.

We should lock this thread at this point.

Add a 'Compact' feature for project management, ie, remove all unused clips, and/or with padding range. The existing tools do not really provide this functionality, ie: variously require a bunch of rules around transcoded clips. timelines etc etc. Again: would be useful to have project-wide command to removed (or pad) all unused, incl. H264 codec etc.

Are there any plans to be able to be able to de-couple graphics cards not intended for complex processing from affecting other processes?

For example, I had a GT120 installed purely for UI. Works fine for displaying my 2 x 1080 monitors, but obviously too old for complex graphics processes required for gaming, colour grading, 3D etc. I have a faster GPU installed for that - GTX980 4GB RAM - but I discovered the older card was slowing the Edit page down in Resolve.

So, as a feature request, is there anyway for Resolve to ignore a slow GPU for it's complex CUDA processing, and rely only on a faster, dedicated, GPU? UI playback is not a concern for me as I'm relying on audio and video preview from a separate device such as a Decklink card.

- Add a search option in the Conflict Resolution window. It would be very usefull when you have hundred of shots starting at 00:00:00:00 !

- Different shortcuts for Tracking and Stab

- Ability to replace/relink a media by an other with a different name.

- A deintelace Resolve FX in order to apply it a part of an exported clip. Would be usefull for movies' edit point from Scene Cut or Pre-Conformed EDL

Alexandre Sadowsky wrote:- Ability to replace/relink a media by an other with a different name

Version 15 already provides this functionality.

Media
"Support for replacing a media file and all its instances in the Media Pool"
viewtopic.php?f=32&t=71878

Tristan Pemberton wrote:Are there any plans to be able to be able to de-couple graphics cards not intended for complex processing from affecting other processes?

For example, I had a GT120 installed purely for UI. Works fine for displaying my 2 x 1080 monitors, but obviously too old for complex graphics processes required for gaming, colour grading, 3D etc. I have a faster GPU installed for that - GTX980 4GB RAM - but I discovered the older card was slowing the Edit page down in Resolve.

So, as a feature request, is there anyway for Resolve to ignore a slow GPU for it's complex CUDA processing, and rely only on a faster, dedicated, GPU? UI playback is not a concern for me as I'm relying on audio and video preview from a separate device such as a Decklink card.

Has been a setting for a long time: go to resolve preferences abs tell to do not use gui gpu for compute.

Alexandre Sadowsky wrote:- Add a search option in the Conflict Resolution window. It would be very usefull when you have hundred of shots starting at 00:00:00:00 !

- Different shortcuts for Tracking and Stab

- Ability to replace/relink a media by an other with a different name.

- A deintelace Resolve FX in order to apply it a part of an exported clip. Would be usefull for movies' edit point from Scene Cut or Pre-Conformed EDL

Having hundreds of clip with no tape id and sane timecode is a recipe for disaster.

When import the clips, activate the reel naming from clip name, it will drastically reduce the conflict or eliminate them altogether.

waltervolpatto wrote:

Tristan Pemberton wrote:Are there any plans to be able to be able to de-couple graphics cards not intended for complex processing from affecting other processes?

For example, I had a GT120 installed purely for UI. Works fine for displaying my 2 x 1080 monitors, but obviously too old for complex graphics processes required for gaming, colour grading, 3D etc. I have a faster GPU installed for that - GTX980 4GB RAM - but I discovered the older card was slowing the Edit page down in Resolve.

So, as a feature request, is there anyway for Resolve to ignore a slow GPU for it's complex CUDA processing, and rely only on a faster, dedicated, GPU? UI playback is not a concern for me as I'm relying on audio and video preview from a separate device such as a Decklink card.

Has been a setting for a long time: go to resolve preferences abs tell to do not use gui gpu for compute.

Thanks for the reply Walter.

Unfortunately I don't have that option. The GT120 doesn't even appear in the Hardware Configuration screen as it appears it's not even recognised by Resolve.

Tristan Pemberton wrote:

waltervolpatto wrote:

Tristan Pemberton wrote:Are there any plans to be able to be able to de-couple graphics cards not intended for complex processing from affecting other processes?

For example, I had a GT120 installed purely for UI. Works fine for displaying my 2 x 1080 monitors, but obviously too old for complex graphics processes required for gaming, colour grading, 3D etc. I have a faster GPU installed for that - GTX980 4GB RAM - but I discovered the older card was slowing the Edit page down in Resolve.

So, as a feature request, is there anyway for Resolve to ignore a slow GPU for it's complex CUDA processing, and rely only on a faster, dedicated, GPU? UI playback is not a concern for me as I'm relying on audio and video preview from a separate device such as a Decklink card.

Has been a setting for a long time: go to resolve preferences abs tell to do not use gui gpu for compute.

Thanks for the reply Walter.

Unfortunately I don't have that option. The GT120 doesn't even appear in the Hardware Configuration screen as it appears it's not even recognised by Resolve.

then try to go in the booth, disable that card altogether, and connect tthe monitor directly to the 980.

I believe it was discussed before, but once more time... About the "individual clip" delivery
For many cases (for example for stock videography - I know that MANY top contributors use DaVinci; but probably not only), export a timeline to individual clips is the important part of the workflow, and the product is FINAL.

But individual clips delivery is limited in many aspects.

Can you please give us the choice how to render clips in the individual mode: "for roundtrip/external app", which should works as it does now, or "for the final render" which should respect everything include OFX effects, retiming etc?

I believe it is not too late to introduce this feature for the final release

I will put it here hoping that it can make it to 15 release.

Most of the times i need noise reducer, it is unevenly distributed in the R, G, B channels, usually the blue channel need double or more denoise to match the other two.

In resolve there is no elegant way to set the strength for individual channels. So, either:

Individual RGB setting (at lest for the spatial)

Or the blend mode should have RGB sliders ganged for the normal operation.

waltervolpatto wrote:I will put it here hoping that it can make it to 15 release.

Most of the times i need noise reducer, it is unevenly distributed in the R, G, B channels, usually the blue channel need double or more denoise to match the other two.

In resolve there is no elegant way to set the strength for individual channels. So, either:

Individual RGB setting (at lest for the spatial)

Or the blend mode should have RGB sliders ganged for the normal operation.

Why not a splitter/combiner? Is that not elegant?

Seth Goldin wrote:

waltervolpatto wrote:I will put it here hoping that it can make it to 15 release.

Most of the times i need noise reducer, it is unevenly distributed in the R, G, B channels, usually the blue channel need double or more denoise to match the other two.

In resolve there is no elegant way to set the strength for individual channels. So, either:

Individual RGB setting (at lest for the spatial)

Or the blend mode should have RGB sliders ganged for the normal operation.

Why not a splitter/combiner? Is that not elegant?

No, that is a workaround and if yoy split, you cannot do chroma denoise (having only one channel).

waltervolpatto wrote:I will put it here hoping that it can make it to 15 release.

Most of the times i need noise reducer, it is unevenly distributed in the R, G, B channels, usually the blue channel need double or more denoise to match the other two.

In resolve there is no elegant way to set the strength for individual channels. So, either:

Individual RGB setting (at lest for the spatial)

Or the blend mode should have RGB sliders ganged for the normal operation.

at least for spatial NR, having more NR in specific channels will lead to colour bleed. If you isolate NR to the blue channel for example you will just get more yellow in your image.

Tom Early wrote:

waltervolpatto wrote:I will put it here hoping that it can make it to 15 release.

Most of the times i need noise reducer, it is unevenly distributed in the R, G, B channels, usually the blue channel need double or more denoise to match the other two.

In resolve there is no elegant way to set the strength for individual channels. So, either:

Individual RGB setting (at lest for the spatial)

Or the blend mode should have RGB sliders ganged for the normal operation.

at least for spatial NR, having more NR in specific channels will lead to colour bleed. If you isolate NR to the blue channel for example you will just get more yellow in your image.

That is expected and accounted for.

better motion blur algorithm
REFX mblur is slower but more realistic.

regards

Option to set target bitrate when rendering Especially for .h264
I'm doing a project right now, where I have to hit a specific size on all my videos for delivery. I want to hit right below the maximum upload MB for max quality.

When using the "Restrict to xx Kb/s" feature, Resolve usually goes way below that restriction, and the "Quality" options are pure guesswork.. I really need an option to force Davinci to render at a specific (high) bitrate.

Hello.

I am grateful for the use of great programs.
I personally would like to have Da Vinci Resolve read and edit the magic lantern mlv file directly without converting it to another file format. Now, it takes a lot of time and energy to convert and manage mlv files.

Thank you.

Antonis Arapostathis wrote:A switch on the color tab viewer that allows us to view the ENTIRE clip, beyond the in - out points of the edit. This facilitates the use of color charts shot at the beginning of the clip. Also allows white balancing using the clapperboard. And it should de super easy to implement.

Clip, show tails? That's there already.

waltervolpatto wrote:

Antonis Arapostathis wrote:A switch on the color tab viewer that allows us to view the ENTIRE clip, beyond the in - out points of the edit. This facilitates the use of color charts shot at the beginning of the clip. Also allows white balancing using the clapperboard. And it should de super easy to implement.

Clip, show tails? That's there already.

'Show current clip with handles' doesn't show the entire clip like he is suggesting. Although you could just use a Master Timeline with remote grades (copying to local afterwards if need be) and make sure 'Sync the master Timeline to the current frame' is turned on in user Preferences/Editing/General Settings

A big kudos to the BMD UX/UI designers for their work on DR. The design choices, design philosophy, and the obvious commitment of BMD to this product have been significant factors in my decision to move to DR.

More Tooltips

As a relatively new user, the simplest feature that could have helped me more quickly grasp the product would have been tooltips for all icons that appear on screen. Most icons are covered, but there are some gaps.

Project setting descriptions (on-screen)

Similarly, in the project settings, it would be convenient, especially for new users, to provide more detailed descriptions of settings on hover. This seems like an easy way to save valuable time for users (rather than having to find/locate answer in manual) without much risk of cluttering the UI if descriptions are hidden by default but still easily accessible by users.

Again, thanks to the BMD designers for their work on this product; you're doing a good job.

My first time posting.

I spent sometime in the Fairlight page and I wondered the following:

1. Ability to duplicate an audio clip by holding the opt and dragging
2. Cross fading clips by dragging or overlaying the clip
3. Rendering effects on clip instead of rendering out a track (similar to cache-ing video effects)

Edit page my only request so far (coming from FCP X) is multitouch gestures for zooming the timeline

Dynamic Zoom location
dynamic zoom button location is not a good place. if you put it under composite it's very nice

Some menus can be closed with ESCAPE - other required you to cancel.

SUGGESTION +) Allow MENUs to be CLOSED through pressing of ESCAPE key universally.

AJ

CAMERA RAW : Tabs for Camera types.

+) And a Horizontal Tab : Arri : Sony : Red .. etc etc.

+) Return user to the TAB they were last in.

Reason : For new users (me!) .. it is not obvious that these are separate 'tabs'.
(I initially thought there was a bug and that RED RAW was going to be ingested as ARRI raw until Peter explained).

AJ

0dB Volume level. it’s very important for working with keyframe.

Ifaanuur wrote:Dynamic Zoom location
dynamic zoom button location is not a good place. if you put it under composite it's very nice

Shouldn't the GUI order reflect the order of operations?

I’m on Premiere Pro for more than 8 years. I’m very fast editor on premiere pro. Now I’m editing short documentary film on Davinci resolve. It’s great software. Especially for color grading it’s amazing. Really powerful. But I missed very important features. For example; you can’t add audio key frame on play back. To add keyframe you must stop playback. In premiere pro you can do anything on play back. This is very important feature for speed.

2. Nest. Nest in premiere pro it’s just like precompse in AE.
3. Audio and video synchronize on timeline. (Not in project media. That is available)
4. Drag and drop files from one timeline to another timeline. You can copy and paste, but drag and drop is not work for me.
5. If you make separate rendering software it’s awesome. Now you have built in export. If you have separate software just like Media encoder it’s Amazing.
6. I Have 2 machines. One is Dell Precision T5600, 12core 2.1ghz Xeon, 24gb ram, 8GB vram. 256gb ssd. On this machine Davinci resolve 15 is not smooth.
On the other hand I have MacBook pro retina 2015, core i7 quad core, 16gb ram, 500 gb ssd storage. On this machine davinci resolve is very smooth.
thanks

Enable/Disable Button for each parameter on Color page would be very useful to temporary Enable/Disable a change to specific parameter.

Thanks

Change the way the search is done in the media pool:

if I select something, search only in selection
if nothing is selected: search in the whole media pool.

Currently if nothing is selected, it is ineffective...

Every time i decide to read this thread my brain melts.

At least Walter and occasionally others, do post some thoughtful suggestions to make it worthwhile reading through the madness.

This is a thing I've been trying to do in Fairlight but I always finish making it in another DAW. And it's something as simple as sidechain. It will be very cool if Blackmagic put a sidechain function between mixer tracks, so it will be very helpfull when handling EQ between background music and main audio with dialogs, or simply for regulate the main scene dialog with background foley for example.

1-It would be great to drop an external audio track under my footage and highlight them both with an option to "sync audio".

2- Being able to extend to an external monitor without having to restart the program

3- The ability to sidechain audio tracks. Useful in instances where you want a VO to duck down a background/music track.

4- the ability to change the function of the mouse wheel

You guys are doing a great job, can't wait to see what the program will be in another 3 years given the pace its moving now!

Markers/Flags Window

Would be really useful to have a window to display & be able to edit the Markers/Flags,
something similar to ''Metadata'' window.

This would make it easier to view/edit/delete/organize the Markers/Flags, especially when I import an AAF or XML
from the offline edit, I usually use ''Import log messages as Markers'' and most of the times there are
colour FX from offline edits which I never use and would like to remove them as quickly as possible,
it makes it very hard to remove multiple Markers/Flags, I know you can select all Markers and delete them but I would like to keep some of the Markers as that helps with knowing where other types of FX have been used on the sequence.

Thanks

1- The ability to shift+click to highlight all fader tracks in the Fairlight page for batch functions

2- to then be able to move all the faders of selected tracks with one movement

3-ability to drag video and audio tracks around to rearrange them in the Edit and Fairlight windows simply by clicking on the track header and dragging to its desired location. Think every DAW ever

- using the "select clips forward on this track" does not select tracks that have had their audio unlinked from them.

I would like to see the ability to replace a range of samples in Fairlight. Here is a list of things that I think should be included:

Number of samples (show time)
In / Out for range
Start from playhead or center on
use specified sample for replacement
Start and end replacement on nearest 0 crossing (direction?)
Cross fade? What to do when replacement sample doesn't align well.
Replace with 0s - or dither?
Loop replacement sample if shorter than number of samples specified for replacement

This would make some audio repairs clicks and pops much easier. Probably much more if it works well and makes any sense at all.

Quantum Scintilla wrote:This would make some audio repairs clicks and pops much easier.

a good DeClicker such as Cedar or Sonic NoNoise Manual DeClick (even a Spectral Editor) is much quicker, easier and actually transparent, as compared to fiddling with sample-based editing.